Monthly Archives: October 2016

1900-1920, Instrument Making, Central

Kaukab Patent Banjo

Told by Ustd. Irfan Muhammad Khan
Obtained by Prof. Sanjoy Bandopadhyay and Troilee Dutta
Date 27 September, 2016
Place Residence of Prof. Sanjoy Bandopadhyay, 3/1/1D, Padmapukur Road, Kolkata 700092
On Irfan Muhammad Khan Irfan Md. Khan is an established Sarod Player. The scion of Lucknow Shahjanpur Gharana Sarod player. He represents the Lucknow-Shahjahanpur Gharana which has produced eminent Sarod players like Ustad Enayet Khan (1790-1883), Ustad Asadullah Khan Kaukab (1852-1919), Ustad Karamatuilah Khan (1848-1933), Prof. Sakhawat Hussain Khan (1875-1955), also his illustrious father Ustad Umar Khan (1916-1982) and his uncle Ustad Ilyas Khan (1924-1989) the famous Sitar player of Lucknow.
Key-words Asadulla Khan, Kaukab Khan, kaukabh, Pratibha Devi, Debi, Karamatullah Khan, sangeet sabha, Motilal Nehru, 1908, Paris World fare, broken sarod, Banjo, Dwarkin, Kaukab patent Banjo, Betel. Calcutta,
Language Hindi

Ustd. Irfan Muhammad Khan speaks:

 

Verbatim:

???? ??? ????? ?? ??? ?? ??? ??? ??????? ???? ?? ??????????? ??? ????? ?? ???? ?????

– ??? ??????? ???? ?? ???? ?? ???? ?? ???????

– ??? ??????? ???? ??????????? ???? ?? ??? ??? ?? ???? ?? ?????? ????? ???? ??? ???? ???? ?? ???????? ?? ??? ???? ????????? ?? exact location ???? ????? ?? ????? ?? but I don’t remember it. ?? ??? ?????? ??? ?? ??? ?????? ???? ?? ???? ??? ??? ???? ??? ?? ?? ??????? ?????? ??? ?? ??? ????????, ??????????? ??? ????? ??? ?? ???…???? ???? ?? ?? ?? ???? ????? ?? ??????? ?????? ????? ?? ???? ???

– ???? ??? ?????

               Asadulla Kaukav Khan

– ????????? ??? ???? ?? ??????????? ???? ….To represent India? ??????? ??? ?? ??? ????? ?????????? ???? ??? ???? ??? ????? ?? ????? ??? ???? ?? ??? ??????? ?? ??? ?????? ????? ?? ?? ??? ?????? ?? ?? ?? ??? ?? ??? ???? ??????? ??? ?? ???? ???? ???? ?? ?????? ??? ???? ??? ?????????? ??? ?????? ?? ??? ???? ????…?? ???? ???? ?? ??? ??? ????? ?? ?? ???????? ????? ?????? ?? ???????? ?????? ?? ???? ??? ???? ?? ???????? ?????…shave off the frets ???? ????? ?? ??? ?? ?? ???????? ???? ???? ???? ?? ??? ????? ???? ????????? ???? ???? ???? ??? ?? ?? ???????? ?? ???? ????? ?? ??????? ???? ??? ?? ???????? ???? ??????? ???????? ?? ?????? ?? ??? ??????? ?? ???????? (Dwarkin) ????? ?? …??????????? ????? ?? ? ??? ?? ????? ?? ?? ???? ??????? ???????? ???? ??? ?? ?? ?????? ???

– ???????? ????????…?

– ???????? ???????? ?? ??? ?? ??? ??? ?????? ?? ????? ??? ????? ??? ???? ?? ?? ???? ?? ?? ???? ?? ?? ???? ??????? ???????? ??????? ???? ????? ?? ??????? ?????…??? ?? ??????? ?????? ?? ????? ???? ?? ?? ?? ???????? ?? ?? ??????

Verbatim by: Dr. Suranjita Paul

Translation:

– After the death of Kaukav Khan, Pratibha Devi called Karamatullah Khan.

– Tell us something about Pratibha Devi.

– Pratibha Devi was the daughter-in-law of Rabindranath Tagore. She had opened a music school. I think it was in Bhowanipore, or maybe somewhere in North Kolkata. My father had told me where it was, but I don’t remember it. There he was the teacher. In the meantime, what happened was, when Kaukav Khan was teaching, Motilal Nehru took him to Allahabad. Before that, Motilal Nehru had sent the two brothers to the Paris World Fair in 1908.

– Who were the two brothers?

                Ustad Karamatullah Khan

– Kaukav Khan and Karamatullah Khan. They had been taken to represent India. They went to Paris and the Great Exhibition. There is a very interesting anecdote. Kaukav Khan’s sarod had broken. Now who could build him a sarod in Paris? He was very upset. The concert was just after two days. So he asked around whether there was anyone who could build him a sarod. As he was roaming around, he spotted a banjo. He bought the banjo and shaved off the frets to make it plain. And he played the banjo in place of his sarod at the concert, like the Sarod. Since then, the banjo became his signature, like his patent. Here in Kolkata, there was Dwarkin Shop owned by Gyan babu’s father. Banjos were available there. The banjo had become his patent. They even called it ‘Kaukuv patent banjo’.

–  ‘Indian Banjo’?

-That’s what they wrote on the records. If someone went to the shop to buy it, they’d say, “I want the Kaukab Patent Banjo.” He has seven or eight records where he has played that banjo.

Translation by: Sarbajaya Bhattacharya

Picture Courtesy: Google

https://www.youtube.com/watch?v=kVFb1zP_n0k

https://www.youtube.com/watch?v=MHOJJZJ-1S0

Edited & Designed: Dr. Suranjita Paul

Data processed at SAP-DRS Lab, Department of Instrumental Music, Rabindra Bharati University.
1900-1920, Performance, North, Others

Marwa made it difficult!

Told by Ustd. Irfan Muhammad Khan
Obtained by Prof. Sanjoy Bandopadhyay and Troilee Dutta
Date 27 September, 2016
Place Residence of Prof. Sanjoy Bandopadhyay, 3/1/1D, Padmapukur Road, Kolkata 700092
On Irfan Muhammad Khan Irfan Md. Khan is an established Sarod Player. The scion of Lucknow Shahjanpur Gharana Sarod player. He represents the Lucknow-Shahjahanpur Gharana which has produced eminent Sarod players like Ustad Enayet Khan (1790-1883), Ustad Asadullah Khan Kaukab (1852-1919), Ustad Karamatuilah Khan (1848-1933), Prof. Sakhawat Hussain Khan (1875-1955), also his illustrious father Ustad Umar Khan (1916-1982) and his uncle Ustad Ilyas Khan (1924-1989) the famous Sitar player of Lucknow.
Key-words Imdad Khan, Tarab strings, taraf, Puriya, haren Sheel, Sil, Kaukab Khan, Kaukabh, Marwa, Mand, Surbahar, 1910, Marwari Hospital, Jorasanko
Language Hindi [also include some English and Bengali sentences.]

Ustd. Irfan Muhammad Khan speaks:

Paraphrase:

This is an embarrassing story, a tongue in cheek situation that happened in the house of Haren Sil. It was probably 1910 or 1912. Haren Sil’s house was on Chitpur Road, near Jorasankho Thakurbari that is now famously known as Rabindra Bharati University. Haren Sil’s house was like a sanctum where legendary musicians regularly visited, so almost every day Baithakis took place.

In this Sil house, once an incident happened with Imdad Khan, the legendary Sitar and Surbahar player. Imdad khan used to tune his Surbahar in all 12 notes so that he could randomly access any Raga in a bit moment. Actually he had a very rare power to start from any note. If he could take Tibra Madhyam as his first note, then Bhairavi would come very naturally. He always in a very modest way asked his audiences to request him any Raga of their will. Then he could immediately start that Raga very effortlessly. That was his unique technique, his charisma to mesmerize listeners.

One day in a very casual mood Imdad Khan was playing Puriya and asked his audiences for any raga. Kaukabh Khan, the legendary Sarode player was present at that time before Imdad Khan in Sil house. He told Haren to request him for Marwa. Now that was the most difficult situation for Imdad to turn on Marwa from Puriya. So he very calmly started playing Maand. Kaukabh Khan felt very insulted and began to scream on him that he had asked for Marwa and not Maand. He also scolded Imdad Khan that he should not brag of playing any Raga instantly when he could not do such things in reality. But Imdad Khan went for a tricky answer. He politely stated Khan Saheb that Maand came as his heart’s choice. Kaukabh Khan was very short tempered person. He immediately ordered Haren Sil to snatch his Surbahar and Haren Sil silently obeyed his order. Kaukabh Khan kept that Surbahar for three to four days and after he calmed down he asked Haren to return back that one to Imdad Khan.

This is one of the several stories that buried in Haren Sil’s house, North Kolkata which is now a Marwari hospital.

Paraphrased by: Dr. Suranjita Paul

 

Data processed at SAP-DRS Lab, Department of Instrumental Music, Rabindra Bharati University.
Performance, Teaching-Learning, Kolkata, Before 1900

Lucknow-Shajehanpur sarod gharana connecting Calcutta—Irfan Muhammad Khan speaks

Told by Ustd. Irfan Muhammad Khan
Obtained by Prof. Sanjoy Bandopadhyay and Troilee Dutta
Date 27 September, 2016
Place Residence of Prof. Sanjoy Bandopadhyay, 3/1/1D, Padmapukur Road, Kolkata 700092
On Irfan Muhammad Khan Irfan Md. Khan is an established Sarod Player. The scion of Lucknow Shahjanpur Gharana Sarod player. He represents the Lucknow-Shahjahanpur Gharana which has produced eminent Sarod players like Ustad Enayet Khan (1790-1883), Ustad Asadullah Khan Kaukab (1852-1919), Ustad Karamatuilah Khan (1848-1933), Prof. Sakhawat Hussain Khan (1875-1955), also his illustrious father Ustad Umar Khan (1916-1982) and his uncle Ustad Ilyas Khan (1924-1989) the famous Sitar player of Lucknow.
Key-words 1880, Enayet Khan, sarodiya, sarod, Kolkata, Kashem Ali Khan, 1887, England, Atta Khan, Murshidabad, Niyamatullah Khan, Wazed Ali, Basat Khan, Karamatullah Khan, Lucknow, Metiaburuj, 1872, Kobila, Bhawal State, Shafayet Khan, Junagarh, Shakhawat Khan, Shahjahanpur, Nepal, Delhi, Pratibha Debi, Devi, Sangeet sabha, Kaukab Khan, haren Sheel, Sil, Gobar Guha, Banjo, sarod, Dhiren Bose, Kali Pal, Paul, J.C. Bose, Jagadish Chandra, Hirendra nath Chattopadhyay, Pratap Chandra Chandra, Kedara, madhyam, Kaukabh
Language Hindi [also include some English and Bengali sentences.]

Ustd. Irfan Muhammad Khan speaks:

Text Version:

You come from a great inheritance, please share some anecdotes of your family related to Kolkata.

During 1880s, my ancestor InnayatKhan , the sarod maestro came to Kolkata. He stayed here for a while then went to Jaydevpur,Bhawal estate. Kashim Ali Khan also joined him there. Queen Victoria’s coronation silver jubilee was during that time, in 1887, and Innayat Khan was sent to England by Bengal Jamindaar Association to play at the Durbaar. He was accompanied by a Tabla player named Atta Khan of Murshidabad.

How was Wazed Ali Khan related to all these?

Niyamatullah Khan was related to Wazed Ali Khan. In 1856 when Wazed Ali Khan was deposed, he was sent to Kolkata with his full court. Basatkhan accompanied him here along with some singers and musicians. NiyamatullahKhan also came here along with his two sons, Kaukab Khan and Karamatullah Khan.Niyamatullahhad a relationship with the king for almost thirty years, both in Lucknow and Kolkata. Then he went to Nepal and to fill his empty post Innayat Khan had arrived. When Wazed Ali Shah passed away, he went to Bhawal Estate in Komilla. It was the custom of the day and these local kings were the real patrons then. Afterwards he went to England and he was the first Indian musician who went to England. When he returned, he came back to jaydebpur and spent his last days there.

His son Shafayat Khan took his post in Bhawal estate as court musician. He was also attached to Junagadh, Gujrat. He stayed in Junagadh for a while and then returned. He sentShakhawat Khan Sahabin Bengal. Shakhawat Khan sahib was a young lad then, only fifteen or twenty years of age. He stayed in Jaydebpur for a little and then escaped and went to Lucknow. He was asked why he was staying back, why he didn’t return to his job? He was very reluctant at first, he made some excuses and then he disclosed the real reason for his escape.

Everyday the Rajasaab took the young musician along with him to visit the grave of his earlier GurujiKashim Ali Khan to show respect and told Sakhawat Saab that he would do the same for him too. The young man was frustrated to see his future tomb every day. He was also a bit superstitious, he could not stand this torture daily. So, he escaped and didn’t return.

Niyamatullah khan returned from Nepal and stayed in Delhi where he took his last breath.His sons made their home here in Kolkata, Metiabruz. Pratibha Debi requested Kaukab Khan to be the Principal of her music school Sangeet Sabha. There the Jamindars took music as their hobby because it was costly. But I must say this, my ancestors made agreat mistake to teach this upper-class people. They took it as a mere hobby, nothing serious. But I think, if they taught common folk it would be better, real learners would then get a chance and they would become immortal through their disciples.

Among his desciples were HarenShil who learnt Surbahar, Gobor Guha who was a famous body builder learnt Banjo and Sarod. Dhiren Bose was a famous sarod player, Kali Pal learnt Esraj. Sarat Bose, scientist J.C.Bose learnt Sarod from my ancestors. Harindranath Chattopadhyay, the husband of Sarojini Naidu, Pratap Chandra Chandra also learnt Sarod. They were quite eccentric and loyal to my ancestors. Once HarenShil was learning Kedar and suddenly a part of a chandelier dropped down when madhyam was played. The sound of broken glass beautifully twined with the madhyam and HarenShil asked his servant to break the entire Belgian chandelier to create the beauty of the sound again. Such was their eccentricity.

 

TRANSLATON BY ARUNDHATI BANERJEE

Data processed at SAP-DRS Lab, Department of Instrumental Music, Rabindra Bharati University.

 

 

North, Production & Archiving, Others, 1975-2000

Remembering HMV days—Rajeev Goenka

Told by Sri Rajeev Goenka
Obtained by Prof Sanjoy Bandopadhyay

Rajeswary Ganguly Banerjee
Date 27th September, 2016
Place Ashoka Road,Alipore,Kolkata -700027
About the speaker Rajeev Goenka is a noted connoisseur of Indian Classical Music and is a passionate music collector. He is the founder and protector of The Rajeev Goenka Music Academy at Dundlod, Jhunjhunu, Rajasthan.  He is closely attached to Kolkata’s music scenario.
Tags HMV,Gramaphone,  Evening Raga,Casset , Godhuli, Morning Raaga, 1990-92, Darbari,Yaman, Bageshree, Long Playing Records, Kishori Amankar, Roshanara Begum, Records, Shyam Ganguly, Rasoolan Bai, Sidhweswari Devi, Bismillah Khan, Extended Play Record,  EP,  Ravishankar, Ali Akbar, Nikhil Banerjee, Indian Classical Music
Language English

Sri  Rajeev Goenka  Speaks :

A small video clip

Text Version:

 

I was associated with the gramophone company. They took me as an adviser of classical music, so I gave them various concepts, like I asked them to take evening Ragas and we titled the cassette, at that time there were cassettes, there were four cassettes in one box, so I titled the compilation ‘Godhuli’, and on the box we wrote the details, that what is ‘Godhuli’ and what are the Ragas of Godhuli, then I made a cassette called morning Ragas, then I made the cassette of evening Ragas.

 

The approximate time frame if you could also mention of the release of these cassettes of ‘Godhuli’ and the morning ragas and others?

Yes, ‘Godhuli’ is the evening time.

No when did you produce it? The publishing year? Approximately?

It would be 1991-92, then I took the major Ragas, like Darbari, Yaman, Bageshree, in which I gave all old long playing records, because when I took over, long playing records were off, and cassettes had come, and H.M.V have not published the LPs  into cassettes. So the conversion also took place, and the artists of 1940’S, and 50’S, came on the cassettes, so like when I did Bageshree, I gave the Kishori Amankar’s LP in that cassette, I gave Roshanara Begum’s Bageshree in that cassette, so like that the four cassettes pack would have eight pieces, a two cassettes pack would have four pieces, then I made, I mean in my personal collection, I had those Eps, those extended play records, which played for seven minutes each side, so those extended play records,

I took  my own records to H.M.V and transferred them to tape, so like Shyam Ganguly of Kolkata, Rasoolan Bai, Sidhweswari Devi these extended records were not on the roster of H.M.V, so they got those seven minutes recordings, Bismillah Khan Sahab, Ravishankar ji, Ali Akbar they had also made, Nikhil Banerjee they had also made these seven minutes records, which were not there in the market, in the publicity domain, I mean the old connoisseurs who had these records but that by then those record players were been extinct. So therefore those records were not available, so I brought it in cassette so my library also became up to date, and preservation of those extended play and 78rpm records came to good use and revival of classical music happened.

Verbatim: Rajeswary Ganguly Banerjee

Picture Courtesy: Google

 https://www.google.co.in/search?q=extended+play+record+label+indian+classical+music&tbm=isch&tbs=rimg:CRxyyeN35ArFIjgHe6QKybl6ALNtph9niTltJlS-CbtmFl1RHWtmjVxvxlqgPSE0mDATH4xGTyINiXeYKZ5bjoUciSoSCQd7pArJuXoAEZqlZWxYucr-KhIJs22mH2eJOW0RHDJEaRZoLZwqEgkmVL4Ju2YWXRF1eVjdBdlpLioSCVEda2aNXG_1GEeZQltTaiM-HKhIJWqA9ITSYMBMRAgiWA07D6hMqEgkfjEZPIg2JdxGjeaJfieJ24CoSCZgpnluOhRyJEatrAooVQzcl&tbo=u&sa=X&ved=2ahUKEwjMqOnQ3fbaAhXJKY8KHb5tBQIQ9C96BAgBEBs&biw=1440&bih=826&dpr=1#imgrc=B3ukCsm5egARyM:

https://www.google.co.in/search?biw=1440&bih=781&tbm=isch&sa=1&ei=MO3xWqjaJYnkvgSxhaoo&q=cassettes+of+Ravishankar+hmv&oq=cassettes+of+Ravishankar+hmv&gs_l=img.3…69972.80682.0.81656.28.26.1.0.0.0.349.4319.0j20j2j1.23.0….0…1c.1.64.img..8.0.0….0.yTQs_Nbbyos#imgrc=56a8WY7rNbvhrM:

Edited & Designed: Ms. Rajeswary Ganguly Banerjee

 

 

 

 

 

 

 

 

Data processed at SAP-DRS Lab, Department of Instrumental Music, Rabindra Bharati University.
Patronisation, South, Listening, 1948-1960

Rajeev Goenka On Music At Birla house

Told by Sri Rajeev Goenka
Obtained by Prof Sanjoy Bandopadhyay and Rajeswary Ganguly Banerjee
Date 27th September, 2016
Place  Ashoka Road,Alipore, Kolkata -700027
About the speaker Rajeev Goenka is a noted connoisseur of Indian Classical Music and is a passionate music collector. He is the founder and protector of The Rajeev Goenka Music Academy at Dundlod, Jhunjhunu, Rajasthan.  He is closely attached to Kolkata’s music scenario.
Tags G.D.Birla,  G.D. Babu, Jamuna Prasad,  Jaman, Birla House, Gangadas Jhawar, Bade Ghulam  Ali Khan, Raag, Teensaptak Taan, Lower Octave, Third Octave, 1954-55,  Gurusaday  Dutta Road, Violin, Melody.
Language English

Sri Rajeev Goenka Speaks :

Verbatim:

Another two incidents I’ll tell you, we were very close the Birla family. So Mr G D Birla, liked my father very much. So G D Babu would ask my father, my father’s name was Jamuna Prasad, but his nickname was Jaman. So he would tell, that Jaman, who is a good singer today. So my father was like his son, he said  Kakoji, it depends , if somebody likes somebody. He said I want to call somebody in Birla House, so Babuji told that, and at that time Gangadas Jhawar, was the music adviser to the Birla family,

Sri G.D.Birla

So my father told G.D Babu that you ask Gangadasji, and why not call Bade Ghulam Ali Khan Sahab. So the Ghulam Ali programme was arranged at Birla House, G.D.Babu phoned my father saying,’ Tumne to bola tha, ghulam alia a rahe hay, ajana shunne ko’,  to mujhe bhi mouka mil gaya uske sath jane ka, so G.D. Babu asked  “who is this?”  I touched his feet, and my father just introduced me, then asked – ’Tum Gatey ho kya, raag ka kuch pehchan hai?” then I was just stood looking at down, and then he said seat, he was seating on the sofa, so I sat near his feet. Then Ghulam Ali Sahab sang, and Gangadasji started doing Ishara, to Ghulam Ali Khan Sahab, that he was famous for teen saptak ki taan, because he wanted to impress G.D.Babu,  that this artist.

Ustad Bade Ghulam Ali Khan

So one or two isharas then Ghulam Ali khan Sahab did one of those tanas.After the programme was over, G.D Babu told Gangadasji and my father , he told Gangadasji that “why are you doing those isharas” and thenG.D.Babu wanted to know and learn, so  he asked my father that – ”Jaman what was that up down?”  so babuji explained. Then he said – “don’t you think that in the lower octave it was besura, and in the third octave it was shrieking, “ G.D Babu didn’t know classical music, so he was asking my father, what do you think of this three octave business.

-What was the time; can you tell us the time? Approximately?

-It 1955 or 54.

– And the Birla House is at?

-Gurusaday  Dutta Road.

-Thank You this is wonderful, you are talking about Jog Sahab as well.

-Again at Birla House, there was another programme of   V.G.Jog. So after the programme was over G.D.Babu told my father that – “ I don’t know much about music, but it is pleasant to the ears, I have not heard much of a Violin, but Jog Sahab’s finger   seems to be very harsh. There should be melody.

 

 

Verbatim by: Rajeswary Ganguly Banerjee

 Picture Courtesy: Google

https://www.google.com/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&cad=rja&uact=8&ved=2ahUKEwiY89mTtcHbAhUW2o8KHVEpAMQQjRx6BAgBEAU&url=https%3A%2F%2Feconomictimes.indiatimes.com%2Fgd-birla-down-the-memory-lane%2Fslideshow%2F6261422.cms&psig=AOvVaw2DZ-NCRDg30tkEIhlgdHGe&ust=1528456177131144

https://www.google.com/search?client=firefox-b&biw=1366&bih=631&tbm=isch&sa=1&ei=cBIZW9nXKsuWmAWuz7XwAw&q=Bade+Ghulam+Ali+Khan+&oq=Bade+Ghulam+Ali+Khan+&gs_l=img.12..0l2j0i30k1l6j0i5i30k1l2.378569.378569.0.381303.1.1.0.0.0.0.209.209.2-1.1.0….0…1c.2.64.img..0.1.208….0.VlvmpJ9Qo04#imgrc=iHzUCTBVWpU3tM:

Edited & Designed: Ms. Rajeswary Ganguly Banerjee

 

 

 

 

Data processed at SAP-DRS Lab, Department of Instrumental Music, Rabindra Bharati University.
North, Patronisation, Listening, 1948-1960

Rajev Goenka On Music At Goenka House

Told by Sri Rajeev Goenka
Obtained by Prof Sanjoy Bandopadhyay and Rajeswary Ganguly Banerjee
Date 27th September, 2016
Place  Ashoka Road,Alipore, Kolkata -700027
About the speaker Rajeev Goenka is a noted connoisseur of Indian Classical Music and is a passionate music collector. He is the founder and protector of The Rajeev Goenka Music Academy at Dundlod, Jhunjhunu, Rajasthan.  He is closely attached to Kolkata’s music scenario.
Tags Kolkata, Music Programme, Maniram A. Kanan, Debu Chowdhury, Manilal Nag, Performance, Baithak, Muktaram Babu Street, 1950-60,  Jasraj, Goenka House, V.G. Jog
Language English

Sri Rajeev Goenka Speaks :

 

Data processed at SAP-DRS Lab, Department of Instrumental Music, Rabindra Bharati University.

 

North, Production & Archiving, 1975-2000, Others

One lakh untouched stampers at HMV godown—Huge Musical Treasures still to be unveiled!

Told by Sri Rajeev Goenka
Obtained by Prof Sanjoy Bandopadhyay and Rajeswary Ganguly Banerjee
Date 27th September, 2016
Place Ashoka Road, Alipore, Kolkata -700027
About the speaker Rajeev Goenka is a noted connoisseur of Indian Classical Music and is a passionate music collector. He is the founder and protector of The Rajeev Goenka Music Academy at Dundlod, Jhunjhunu, Rajasthan.  He is closely attached to Kolkata’s music scenario.
Tags Discography, Wire Recording,  Dumdum, 1989, Stamper,  78 Rpm Record, 1933, Gauhar Jaan
Language English

Sri  Rajeev Goenka  Speaks :

Verbatim:

 Well I will put it in this way that I came to know there was one, what do you call that, Discographer, His name wasMichaelKinnear,he was from Australia, now he is no more, he expired, so I came to know that he was researching on the mother shells which was the origin of those 78rpm shellac records. Now before shellac there were wire recordings, and those recordings were of two or two and half minutes. So he gave me his book on discography, I just tried to find out what happened to these records, so I accidentally entered a godown in the Dumdum factory.

Which year approximately?

1989, I asked my senior, what was that? Because I didn’t know what mother shell is? So I was explained, that these are all metal pieces, they call it stamper, now that stamper is hooked on some machine and hereby the engraving gets engraved in other side, it’s like photo printing kind of thing, and then that imprinted thing is put on shellac and that is how the 78rpm record is made, and it was God’s grace that he said that ’come I’ll show you a demonstration’.

Gauhar-Jan

So he prepared that whole thing, and he made one record, and after making that he played that record and that record was 1933 GauharJaan. So when I heard that I said “MrMaitra this is GauharJaan!” So MrMaitra looked at me and said Mr Goenka how do you know that this is GauharJaan? I said my brain and my ears are telling me. He said let me check. He went to his book, register-‘ja main tose nahin boloon’, and he said you are dam right. He said this whole godown is full of this, which means they have hundred thousand, one lakh stampers in that godown.

Verbatim: RajeswaryGanguly Banerjee

Picture Courtesy: Google

 https://www.google.co.in/search?rlz=1C5CHFA_enIN769IN769&biw=1440&bih=826&tbm=isch&sa=1&ei=-f7xWu7fLIfnvgTEtJXYCQ&q=gauharjan+records&oq=gauharjan+records&gs_l=img.3…1029.4882.0.5169.8.8.0.0.0.0.302.1363.0j7j0j1.8.0….0…1c.1.64.img..0.0.0….0.yTT2FtZN2CM#imgdii=OT9gLyyC3VepxM:&imgrc=qKsYMkFRodtREM:

https://www.google.co.in/search?rlz=1C5CHFA_enIN769IN769&biw=1440&bih=826&tbm=isch&sa=1&ei=-f7xWu7fLIfnvgTEtJXYCQ&q=gauharjan+records&oq=gauharjan+records&gs_l=img.3…1029.4882.0.5169.8.8.0.0.0.0.302.1363.0j7j0j1.8.0….0…1c.1.64.img..0.0.0….0.yTT2FtZN2CM#imgrc=C6AEqK5PGay56M:

Edited & Designed: Ms. Rajeswary Ganguly Banerjee

 

 

Data processed at SAP-DRS Lab, Department of Instrumental Music, Rabindra Bharati University.
North, Teaching-Learning, 1948-1960

Rajeev Goenka On His Musical Tutelage, Music Appreciation and Listening Skill.

Told by Sri Rajeev Goenka
Obtained by Prof Sanjoy Bandopadhyay and Rajeswary Ganguly Banerjee
Date 27th September, 2016
Place Ashoka Road, Alipore, Kolkata -700027
About the speaker Rajeev Goenka is a noted connoisseur of Indian Classical Music and is a passionate music collector. He is the founder and protector of The Rajeev Goenka Music Academy at Dundlod, Jhunjhunu, Rajasthan.  He is closely attached to Kolkata’s music scenario.
Tags Gwalior Gharana, Janardan Pethe, 1950-1960, Srikant Bakhre,  Madhav Ingle,  Amir Khan,  D.V.Paluskar,  Bandish,  Kusum Jhunjhunwala,  Sarla Bhide, Aroh-Abroh, Bhupali, Teentaal, Drut bandish, Alap, Bol Alap, Raaga, 1955,  78 RPM Records,  Narayan Rao Vyas,  Vinayak Rao Patwardhan, D.V. Paluskar,  Bhimsen Joshi, Lalit, Shankara, Error In HMV Label
Language English

Sri Rajeev Goenka  Speaks :

 

Data processed at SAP-DRS Lab, Department of Instrumental Music, Rabindra Bharati University.